Wednesday, April 28, 2010

Art & Globalization

5 Questions
1. Is it still relevant to know the geographical background of an artist in our contemporary globalized culture?
2. What foreshadowing of artists from China and India play into the global art market?
3. Is the art world to big and diverse for its own good?
4. Can the artist become outsourced like in many other fields? How?
5. Is the new hybrid of art and culture a benefit or a distraction from making art? Do we have access to much information?


Huang Yong Ping, buddha's hands, 2006

Huang Yong Ping - french artist of chinese origin is exhibiting as part of arsenale at

Venice Art Biennale 09. ping's work has its roots in confrontation, contrast, exchange,

and the coexistence of different cultural and spiritual worlds. his oversize recreations

of the hand of buddha is made from a type of cedar tree traditionally used in chinese

medicine, that dwell in the ambiguity of references to both spiritual and earthly realms.

Phillips de Pury & Co.

Mixed media on paper on Aludibond on wood
The Museum of Contemporary Art, Los Angeles


Franz Ackermann’s work explores issues of travel and tourism, contrasting subjective experience with broader issues of globalization, mobility, and commerce. He travels to select locations to render time and geographic space in wall-scale paintings and mixed-media constructions. African Diamond, like many of his works, eradicates the formal boundaries between sculpture, painting, and advertising by translating each medium’s visual vocabulary into his own distinct patois.


Michal Rovner, Chinese Calculator, 2004 
Steel vitrine with glass, stone and DVD video projection 


Installed near the entrance of the Biennale, Israeli born, New York-based artist Michal Rovner presents Chinese Calculator (2004)four stone tablets that celebrate faux archaeological findings by establishing a fictitious history. Each rough stone slab is touched with light from tiny projectors. Small patches of light noticeably waver on their hard surfaces, refusing permanence and legibility. The projections resemble ancient script, but they are actually human figures, alive and active.

Yinka Shonibare, The Swing (reproduction of Fragonard's 'the swing'), 2001

Yinka Shonibare is someone born in England but born to Nigerian parents. Eventually moves back to Nigeria, but was also educated in England; so is truly bi-cultural, and uses this experience to confront what it's like to grow up in with Nigerian traditions but to be educated in Western culture.


Sunday, April 25, 2010

Art & Identity

5 Questions

1. How does personal identity effect how we make art? Is it a direct correlation to how we want to be viewed by society?

2. Is the identity of an artist changing due to globalization and multiculturalism? Do this reflect Bourriaud's Altermodern theory?

3. Can an artist successfully represent an identity from another culture?

4. What are the characteristics of "essentialists" and "deconstructionists"?

5. Are stereotypes and self awareness apart of how identity shapes artists and the viewer?

Louise Bourgeois

Seven in Bed, 2001 Fabric, stainless steel, glass and wood.

Courtesy Cheim and Read, Galerie Karsten Greve and Galerie Hauser & Wirth

Cindy Sherman

Cinderella, Untitled #276, 1995

Matt Held

Facebook Portraits-Shawn Zeiger, 2008

Kerry James Marshall

Untitled, 2009, acrylic on pvc

JR and Marco- http://face2faceproject.com/

Art & The Body

5 Questions

1. Throughout the history of art, the body has taken on various roles reflecting the signifiance of that time period. What does contemporary art and the body reflect about our time?

2. Does the perception of deformation to the figure add to the how the viewer sees an artwork?

3. When the body is placed in a specific setting the context of that artwork changes. Does this benefit the artwork?

4. When creating artwork with more than one figure, the relationship of the artwork and the viewer can bring up feelings from our subconscious. Isn't that the main goal of an artwork, to create an emotional reaction to the viewer?

5. Is contemporary art a key tool to breaking down taboos of our society?

Ron Mueck

Ron Mueck (Australian, b. 1958). Two Women, 2005. Mixed media, 33 1/2 x 18 7/8 x 15 in. (85.1 x 47.9 x 38.1 cm). Glenn Fuhrman Collection, New York

Ron Mueck (Australian, b. 1958). In Bed, 2005. Mixed media, 63 3/4 x 255 7/8 x 155 1/2 in. (161.9 x 649.9 x 395 cm). Private Collection

Jorge Rodriguez Gerada

Jorge Rodriguez-Gerada started making urban art more than 15 years ago in New York City. A founder of the artistic direction known as 'culture jamming,' he is a Cuban-born artist based in New York and Barcelona. Rodriguez-Gerada creates portraits in charcoal of people-until now anonymous-which scale the walls of buildings in our cities in a format that we can begin to describe as gigantic.

Bert Simons

3 dimensional pseudo realistic paper portraits and sculptures. These are papercraft sculptures made in the same way as the familiar papercraft houses and animals

Janine Antoni

Lick And Lather, 1993

Jenny Saville

Rosetta 2, 2005-2006, Oil on watercolor paper, mounted on board


Wednesday, April 21, 2010

Criteria for Writing a Successful Exhibition Revie

Criteria for Writing a Successful Exhibition Review

Extensive knowledge of studio practice and the subject matters that the artist(s) is focused on

Background information about the artist(s) which includes:

Education

Influences

Cultural background

Medium they work(ed) in

Signifance in the art world

Format

Introduction

Summary

Issues involving the Art world and the exhibition’s connection to it

Critique

Personal Opinion of the Artwork and Atmosphere

Conclusion

References

The review must be of an exhibition that focuses on or includes a substantial amount of art that makes connections to the shows theme. Reviews should be reasonably courteous or respectful unless there is a good reason to challenge the premise of an exhibition.

5 Questions from Multiple readings

Art & Deformation
1. How do we define beauty and its roles in contemporary art and is this view benefical to society and art?
2. Why does human imperfection become valued as the antifigure?


Art & Nature and Technology
1. Does the social importance of eco art add or remove the value to it?
2. What was Eduardo Kac's inspiration to start creating Bio Art? Where do you draw the line when creating art that touches on a subject matter such as genetic modification?

3. Is art made from recycled materiasl a fade ora significant representation of art in contemporary issues?

Monday, April 19, 2010

Art & Representation Reflection

Reflecting back on the Art & Representation presentation Gina and I gave last week, I would like to discuss a few key points. First, overall I think it was successful from beginning to end. We presented the information and reflected on the connection of the articles to the theory of representation. Second, creating the art project focused on nostalgia of hero, home, and play was successful. I was hoping that the class would create meaningful art pieces that reflect their own ideas of representation. I believe the artwork overall was lacking the integrity of graduate level art making however we had a little time. Third, because of the subject matter of representation in the contemporary art world I think the description of representation is very open to interpretation. I think Gina & I should have been clearer on that fact for the achievement of the discussion.

Sunday, April 18, 2010

Art & Deformation

This chapter made me view the human body in a vice; uncomfortable, cold, and full of emotional bondage into pain. It is powerful painful and makes you think about your own body.

Diane Arbus

Photograph by Diane Arbus, “Jayne Mansfield Cimber-Ottaviano, actress, with her daughter, Jayne Marie,” 1965. Copyright Estate of Diane Arbus, 1965. Esquire Collection, Spencer Museum of Art, the University of Kansas .

A Young man at Home on West 20th Street, NYC 1966

www.photography-now.us/02/artphotogallery/photographers/diane_arbus_14.html

John Currin

John Currin, “Jaunty und Mame” (1997)

There is nothing politically correct here. His representation of women isn't so clear-cut and depicts a bizarre and very American world of ageing divorcees, 70s pin-ups and cliché gay couples. Currin wants viewers to feel uncomfortable and enjoy it.

Louise Bourgeois


Arch of Hysteria, Bronze with silver nitrate patina 83.8 x 101.5 x 58.4 cm

National Gallery of Canada

Marina Abramovic

Performance Artist that explores her body in public, upsetting social codes, and to adopt strategies that destroy myths about what is female, the body, its representation and identity.


Lips of Thomas, 1973/1994

I only used the one image which presents the strongest moment of the performance itself, and can therefore stand on its own as a photograph… . The audience can, by reading the text description, and by looking at one single photograph, imagine the rest in their minds. -– Marina Abramovic

LIPS OF THOMAS

Performance

I slowly eat 1 kilo of honey with a silver spoon.

I slowly drink 1 liter of red wine out of a crystal glass.

I break the glass with my right hand.

I cut a five pointed star on my stomach with a razor blade.

I violently whip myself until I no longer feel any pain.

I lay down on a cross made of ice blocks.

The heat of a suspended space heater pointed at my stomach
Causes the cut star to bleed.

The rest of my body begins to freeze

I remain on the ice cross for 30 minutes until the audience interrupts the piece by removing the ice blocks from underneath.

Duration: 2 hours 1975
Krinzinger Gallery
Innsbruck

R Krumb

The very fact... Pizzeria Sauve Nov. 22, '04 2004 Ink, correction fluid on paper







Art & Nature & Technology

Bio Art Example (Inspired & named by Eduardo Kac)
0abardonabbbk.jpg
Brandon Ballengee, DFA 19, Io
Scanner Photograph of Cleared and Stained Multi-limbed Pacific Tree frog from Aptos, California in Scientific Collaboration with Dr. Stanley K. Sessions. MALAMP titles in collaboration with the poet KuyDelair.
Courtesy the Artist and Archibald Arts, NYC
Private collection, London

Along my adventures into the art world I have come across a number of arts I am really impressed with, particularly because they use garbage, E-waste, recycable materials to make socially conscious artwork. I feel I relate most to this community because of the message behind it.

Wow I sound like a Treehugger but I have transformed into one. Speaking of which check out
www.treehugger.com for alot of news, images, DIY projects, artists, and everything aware of the environment and human impact

Ha Schult


Also check out this Amazing photographer Ragnar Th. Sigurdsson taking photos this weekend of Iceland’s Eyjafjallajokull volcano. NY times

Artist Tom Every, known as Dr. Evermor, not only built a sculpture out of recycled materials but an entire park. The above photo, entitled Forevertron, is actually the world’s largest scrap metal sculpture. This amazing recycled art is constructed from scraps that are up to 100 years old and include historic components like a decontamination chamber from the Apollo space mission.
Every spent over 10 years collecting the different pieces of scrap metal. In 1983 he began building Forevertron, the park also includes other recycled art displays including gigantic insects and a bird symphony. Forevertron itself stands 50 feet tall, 120 feet wide, 60 feet deep and weighs 320 tons. It is truly an amazing sight to see. The park is located in Wisconsin off Highway 12 in North Freedom, Baraboo, near Devil’s Lake.

A suspended shade pavilion made out of 945 discarded oil cans, Jugaad was named for an Indian term that refers to “attaining any objective with the available resources at hand.”

Reuse

One of the best tools in fighting global warming is creative thinking. Change your commute by carpooling or taking public transportation. Make your coffee at home and drink it in a travel mug. Reuse water bottles. Reuse cloth bags for grocery shopping. The more we reuse, the less waste there will be. Start thinking creatively about solutions and make the effort to effect the change. Over 500 pounds of metal scrap were collected to embrace the earth in a cocoon of steel to prove the point that ones man’s trash could truly be the world’s treasure…

Title: One Man’s Trash…Don’t Waste—Instead Create!

Artist: Mitch Levin

Chris Jordan
Year of the Tiger, 2010
62x62"

Depicts 3200 toy tigers, equal to the estimated number of tigers remaining on Earth. The space in the middle would hold 40,000 of these tigers, equal to the global tiger population in 1970.


24-ft. long Trash-o-saurus Meet Trash-o-saurus, a 24-foot-long dinosaur made from a ton of trash -- which is how much trash an average person throws away in a year. Visitors can walk through a giant compost pile, see compost worms in action, and watch from a sky box as recyclables are dumped, sorted, and crushed.

Sunday, April 11, 2010

David Hockney

www.davidhockney.com

Art & Today /Narrative

Art 21: Story Reaction

Kara Walker at the San Paulo Bienal
Illusion of past events and not know but actually a blend of sterotypes from the old south and racial tensions of now
Story telling like Gone with the Wind
Dilemna of drama of the story and the heroine
The silhouette helps with the illude the image to the viewer
Walker’s childhood in racial south directly effected her views of architypes and her art
The story is our record

Camptown Ladies, May 2006, Black Paper

Kiki Smith
Character can have a life outside of one version
Full Caste-Death Mask of the generation
Kiki Smith Untitled 2002 (Courtesy the artist and PaceWildenstein, New York Photo: Sarah Harper Gifford)

Do Hu Suh
Traveler, his story of traveling to get out of the shadow of his father
Issues of longing
Suitcase of House
Personal space
Individual and the Collective-Repetition of Figures
Recognize amonymous everyday life
Korean life and him growing up
Floor, 1997-2000


Trenton Doyle Hancock
Panel by panel words exploding
The story on the same image
Mounds, half human/half plant a story
Visions & Imaginations create his stories, takes on a life of their own

Mound #5 shows his inside story (+ The legend is in trouble, lrgr; 2 works)
Mixed Media


David Salle

Lanterns, 2002


Mark Tansey

The Innocent Eye Test 1981, 78 x 120 in.

"In Tansey's painted metaphor for the perception of art, we are the cow,
and the scientists want to know how and what we see --- hardly the
stuff of Frank Stella's famous dictum "What you see is what you see."

From Judi Freeman Mark Tansey



Sunday, April 4, 2010

Other Works in Progress




The 2010 Whitney Biennial Exhibition Review

Upon first arrival to the dark, ‘Breuerist’ building in the Upper East Side, I was bright eyed and bushy tailed to see The 2010 Whitney Biennial exhibition. It was an oddly sunny, warmish day in early March and I knew that it would not be too crowded and overwhelming, so viewing the art could be an enjoyable experience. Those same emotions changed when I left The Whitney Museum of American Art.

The Whitney Biennial gives the viewer much more space and time to stand in front of each artwork, pause, take it in, and analyze it to your own perspective and opinions. The quantity of variety was exceptional and the works all shared the overall, vague theme of American individuality and unification, a contradiction in and of its self.

2010 is a year of many things, a recession, the first year of our multi-cultural president Barack Obama, a mourning period for the king of Pop, and the 75th edition of this dark building’s exhibition of contemporary American Art. Curator Francesco Bonami and co-curator Gary Carrion-Murayari picked aspects of contemporary American art, put it into a blender and pressed frappe (On High course). There was no one singular theme, material, or voice that ran through this multi-floored Biennial other than the duality of optimism and pessimism in America and the turbulent times in which we live. Successfully, the dialogue of the artwork created does speak to the viewers on a general and personal level and represents events and attitudes of the everyman. This show is much more humble than shows of our past because of the state of our economy and society.

In a review by Jerry Saltz on the 2010 Whitney Biennial, he carries an optimistic view of the exhibition. In his article “Change We Can Believe In,” in the Art Review of New York Magazine, Saltz states, “guest curator Francesco Bonami and co-curator Gary Carrion-Murayari say their show is about innovative forms, new relationships, and personal modernism. Yes, it’s the Obama Biennial: alternately moving and frustrating, challenging and disappointing—and a big improvement on what came before.” Why is it so focused on President Barack Obama rather than the whole of America, rather than one man (granted one powerful, famous man, but one man)? Saltz also states that this Biennial is the first exhibition that the majority of artists is female, however did not create feminist art.

I do agree with Saltz in the fact that the 2010 Whitney Biennial is anti-hype and anti-blockbuster, with no over the top displays of New York gallery-power, wealth, bravado, and high production. The artists represented are not artists of notoriety, on a budget reflecting the rest of America’s lower and middle class. The technical and quality aspects of the artwork vary from artist to artist.

Photographer Nina Berman takes the viewer into a recently returning, disfigured veteran from Iraq, Major Ty Ziegel in “Marine Wedding” (2008.) This photo essay captures Ty and his fiancĂ©e on their journey towards the marriage, the disconnection itself of their relationship, and their inevitable separation. I enjoyed Berman’s work because it focuses on issues that our returning veterans are dealing with and their disconnection from the country and the people they love and fight for. Whether you support the wars in Iraq or Afghanistan or not, the viewer is reminded to support of troops.

On a lighter note, artist Pae White, and her work ‘Smoke Knows’ (2009) she creates a cotton and polyester tapestry that “Fuses image and material to stage what she envisions as ‘dream of becoming something other than itself”(Whitney Biennale Catalogue, pg 122.) In this work, she isolates a close up smoke swirl moving gracefully through air and space.

I did enjoy the aspect of the show, art for the every man. But if your paying $18 to see art for the everyman is it any more important in a fancy museum, New York gallery, internet website, or newspaper. If the Whitney Biennial theme is the infinite creativity of America and the growing artistic qualifications, then it is also the theme of art in the 21st century.

The artist that seemed to exemplify the theme of American duality was James Casebere, ‘Landscape with Houses (Dutchess County, NY)’. His blend of set design, photography, architecture, and film is entirely a remake of American surrealism and subject matters expressing American issues. In this particular piece he creates a tabletop scene of an American suburb of upstate New York. This neighborhood was entirely designed as a development and then hard hit with recent foreclosures due to our countries economic state. This work invokes the illusion of the American dream vs. the American reality.

As I left the Whitney Museum of American Art, my mood was dulled to a somber emotion. As an artist I feel like it did an excellent job of reflecting our current time and place but is the illusion of optimism better than facing the realism of our society’s faults. The artist’s general success can hopefully excel and continue for years to come.